Lion Music Records is a small Finnish label which deals mainly in hard rock, progressive metal and instrumental guitar music. Current artists on their books include Lars Eric Matsson, Alex Masi, Vision, Baltimoore, Torben Enevoldsen, James Byrd, Rolf Munkes and of most interest to progressive rock fans, Condition Red.

Tracklist:Calls Out My Name (10:28), Judgement Day (10:31), Life Is Now (8:51), Bach On The Streets Again (5:15), Fly Me High (4:58), Lighthouse (8:26), Learning To Live (4:30), Final Words (7:41)

Of all the names found on the Lion Music label, Condition Red must be the one that strikes a familiar note with lovers of progressive rock. Though this is their debut album, a certain amount of hype has been created around this band, nonetheless due to the utilization of many well known names from the Scandinavian rock scene as well as a number of guest musicians. Born out of a concept by guitarist/bassist Lars Eric Matsson (Matsson, Vision, Astral Groove) and keyboardist Alexander King, this album features Ella Grussner (lead vocals, violin) (Barka Vall), Torgny Stjärnfelt (lead vocals), Alex Masi (guitars), Esa Pietilä (sax), Eddie Sledgehammer (drums) (Baltimoore) and guest keyboardist on two tracks (3 and 8), Derek Sheinian (Dream Theater, Planet X, Platypus).

The underlying groove is one of a progressive metal album, though there are
various interjections of jazz, fusion and classical elements. As can be seen by
the length of the tracks, a lot of space has been given to the musical
virtuosisms of the various members allowing each one to expand and make full use
of his/her individual instrument.

Calls Out My Name starts the album with a classical overtone, as the
music seems to be more in a Renaissance style, though as the double bass
drum kicks in the music slowly picks up with the occasional metal interjection
coupled with some nice Hammond licks. Three and a half minutes into the track we
get the first vocals, and immediately one senses that this is going to be the
main flaw within this album. Both vocalists seem to posses a limited range and
somehow do not seem to fit into the musical style played, in fact it comes as a
relief when the group moves into the instrumental sections of the track.

Judgement Day is one of the album highlights as the group never stray form a
jazz/swing groove with some interesting saxophone playing. Even the guitar solos
never seem as heavy sounding as they do on the rest of the album. Suffice
to say that at just under ten and a half minutes, this track features everything
that you could possibly want and expect from a lengthy progressive instrumental,
constant changes in both time signature and musical interchanges.

Life Is Now reverts back the progressive metal style that somehow
suits the group, especially when looking at the c.v. of the musicians involved
whose background is well within the metal kingdom. Keyboard solo is courtesy of
Derek Sherinian which also involves utilizing some good atmospheric and
orchestral effects. The instrumental Bach On The Streets Again is
utilized to showcase the two prominent guitarists (Matsson and Masi) that
feature in Condition Red, yet this does not detract from violinist Ella Grussner
having her say in the matters.

Fly Me High is one of the albums' weaker tracks. True it does have
some interesting time signatures, yet the track remains very bland with some
strained vocals. Lighthouse, on the other hand, makes up for the disappointment
of the previous track. With an atmospheric sax-drenched opening, the group romp
into some great Hammond backed riffs together with a lovely bass run.
Occasionally this is interrupted by some delicate saxophone which helps
break the continuous guitar riff-raff.

The short (by this album's standards!) Learning To Live shows the strength
of this group lies in having a strong backing power chord backbone to the strong
structure, which means that the group seems to excel when the song is well
within the metallic vein. Final Words closes this album which once again
features guest keyboardist Derek Sherinian. Here the group thread a softer path
though essentially metallic, the sound is cleaner with less distortion and some
nice piano playing.

All in all this album makes an interesting listen though it has its
shortcomings. The production work leaves a lot to be desired especially as to where
the drums are placed within the mix, while the vocals as I have mentioned time
and time again just do not blend in well with this style of music which requires
a much more powerful voice which has a wider range than what is offered here.
The album does have its musical moments though and this should act as a
guarantee for the group's musical future. As a debut, they are going in the
right direction. Time will tell.

One of the most admired and transcribed classical composers is Johann
Sebastian Bach. What Alex Masi has done on this album is take works that Bach
originally wrote for various other instruments such as the clavichord,
harpsichord and violin and transpose the music and adapt it to either an
electric or an acoustic guitar.

Born and raised in Venice, Italy, Classical
works of art must have formed an integral part of this guitarist's youth and
this comes to the forefront on this album. His first foray into the musical
world was via the Heavy Metal group Dark Lord in the mid-eighties. However the
lack of musical appreciation from the public in general during that era led to
the disbandment of the group and Masi started working as a session musician and
as a solo artist. Maturity in age also brought about a deeper understanding of
music and this led Masi to delve deeper into classical music especially baroque
music with the result being this album, In The Name Of Bach.

Some of his
"traditional" could be slightly disappointed with this outing as the
only feature on this album is the guitar work of Alex Masi and most times he is
not using searing power chords and bone-crunching riffs yet delicately playing a
semi-acoustic guitar. On the other hand this album could be considered a lesson
in adaptation and an inspiration to those guitarists who think the be all and
end all of guitar playing is Jimi Hendrix or Tony Iommi. Yet even these
guitarists acknowledge the power and inspiration of classical music.

Opening
with the all to familiar (and covered) Toccata and Fugue in D minor DWV 565,
the album is a run through of some familiar and other less familiar Bach tunes.
Of course there is a slight hint of improvisation here and there but all within
limits. One cannot expect to describe each and every track individually but look
at the whole album as a single entity. This album makes a great introduction to
Bach for those who are uninitiated in his music and is an extremely relaxing and
comfortable listen. On the other hand, traditionalists would be up in arms
against what they could deem to be travesty, yet in my opinion Masi has done
justice to these tracks. What is definite, Bach is NOT turning in his
grave!

Following his 1998 debut album, Guitarisima, Danish guitarist Torben
Enevoldsen has returned, this time with a totally instrumental album backed by a
string rhythm section playing ten tracks of good hard classical rock. The two
backing musicians are Fleming Hansen (bass) and Mickey Hurricane (drums). As all
guitarists who grew up in the eighties listening to hard rock/heavy metal,
Enevoldsen's main influences are Tony Iommi, Richie Blackmore, Edward
Van Halen and of course, fellow Scandinavian, Yngwie Malmsteen.
Another guitarist whom I feel played a role in the technique and tone that
Enevoldsen uses, but not mentioned too often in any of the interviews he has done
is Michael Schenker.

From the onset, the track Heavy Persuasion shows the listener what he
is in for. The guitar is set right in the front of the mix while the rhythm
section is relatively subdued but by no means is this ineffective. The guitar
work is crisp and sharp while the tonality of his guitar playing is clear
throughout. Of course it is impossible not to make any comparisons, especially
when there is a vast number of instrumental albums featuring such guitarists and
possibly most important of all there is no new musical style.

Desert Groove, Cloud Nine and Go Figure show Enevoldsen's
ability to create strong melodic licks much like Satriani and Schenker
like to do while the backing rhythm is moving at a fast heavy rate. The tempo is
slowed down for two tracks (Another Page, About Time), yet the
lead guitar work remains virtually similar to previous tracks with just the
rhythm slowing down. About Time also features some drum programming by Enevoldsen,
though this is barely audible and thankfully (as opposed to Joe Satriani)
it does not overrule any of the underlying rhythm and detract from the rock. The
same applies to the track Spacewalk.

Temple Of Hope, Heads Up and Off Limits are proof of
Enevoldsen's Scandinavian origins as they feature some furious fretwork, much
like Yngwie Malmsteen loves to do. On the whole this album is a good
instrumental album and should appeal to all those who like guitar instrumentals.
On the other hand there is no new musical innovation as this kind of guitar work
has all been attempted before with varying degrees of success and of possibly
more importance to the readers who like progressive rock, the progressiveness in
this music is practically non existent, this is pure hard rock/heavy metal.

Mattsson is the group project of Finnish guitarist Lars Eric Mattsson
together with vocalist Bjorn Lodin (Baltimoore) and drummer Eddie
Sledgehammer (Condition Red). Together this trio have released this album
which features a combination of strong melodic heavy metal coupled with a
certain element of progressive rock (though the metal has more of an edge than
the progressive!).

To augment the sound and increase the musical virtuosity on this album, the
group have brought in a number of guest musicians, a number of whom are well
known within progressive rock circles. These include Patrick Rondat (Jean
Michel Jarre), Rob Johnson (Magnitude 9), Erik Norlander (Lana
Lane, Rocket Scientists), Pär Lindh ( Pär Lindh Project), Esa
Pietila and violinist Ella Grussner.

In fact the album can be subdivided into two musical factions. There are
those tracks which are straight forward melodic metal featuring some great
fretboard work from Matsson ably backed by Lodin's Roger Chapman-like
vocals and Eddie Sledgehammer's pounding drums. The musical style would be akin
to melodic power metal groups such as Stratovarius, Kamelot
and beyond any reason of doubt Yngwie Malmsteen's Rising Force. On the
other hand there are sections within many of these tracks which feature some
great interplay between various instruments and musicians as well as some
varying time signatures. The progressiveness in the music played here does not
involve over elaborate rhythms and/or use of innovative instruments but the way
different solos are played especially when two musicians are playing
simultaneously or replying to each other's licks.

The first three tracks rush by like a locomotive at full speed, all three of them
at breakneck speed with the group pounding away incessantly. Crash And Burn
features Patrick Rondat's guitar work on the first solo while Erik Norlander
provides the synthesizer solo on Don't Chain My Mind. Angel Blue
acts as a reprieve from the fury of the previous tracks with the group slowing
down the pace and augmented by Ella Grussner's violin playing.

Burn The Witch is pure metal to the bone, but has some delicate guitar
interludes while Burning My Soul sounds so like Malmsteen and his Rising
Force, though the guitar work on this track is strengthened by Rob Johnson's
playing. Don't Lose Your Patience is a classic example as to why metal
groups are considered the foremost bands at creating beautiful ballads. Another
Dimension is possibly the first attempt at some real progressive metal with
the group showing their tightness with some sudden unexpected time changes
though still maintaining that metal edge which at times is interrupted by the Hammond
organ playing of Par Lindh.

Road Of Babylon, In Both Ends and Wait For The Angels
are relatively similar to the previous melodic metal tracks while Save Our
Souls sees the group utilizing the mellotron and grand piano, courtesy of
Par Lindh, to create some suggestive sound effects. Memory Lane sees a
return to the ballads while the closing number Cry No More finds the band
reaching out to an audience that relishes hard rock rather than heavy metal with
less of an emphasis on speed and power chords resulting in the group obtaining a
polished undistorted sound.

Overall this is a good melodic metal album. Calling it progressive metal
would, in my opinion, be stretching it a bit too far though for some
inexplicable reasons melodic metal bands seem to have a tendency to call their
music prog! If you like good easy listening heavy metal which concurrently
features some great guitar and keyboard work, this album will do for you. It's
one for the car!

Baltimoore is Swedish vocalist, Bjorn Lodin.....and musicians chosen by him.
That is how the press kit accompanying this album sets out to describe the group
and Original Sin is the fifth release for the group, six years after their last
album, Thought For Food. Also involved is original Baltimoore guitarist Thomas
Larsson (Glenn Hughes), Lars Pollack (piano, organ), Weine Johansson
(bass) and Eiron Johansson (drums).

Let's get straight to the point. This is
pure balls to the wall hard rock/heavy metal. Nothing progressive about it at
all, yet it makes a very, very good listen. Lodin's vocals come across as being
a blend between Roger Chapman and Bruce Dickinson while the music manages to do
away with any of the fancy material and hits you right between the ears. The
ear-friendly choruses are present as is a certain dose of Hammond driven rhythm,
especially of storming opener Conviction. Possibly the most obtrusive
track on the album which deviates from the standard blues influenced rock is
Superman, which frankly sounds a bit too wimpy for Lodin's musical style.

Listening
to the album the influences come thick and fast with the opener Conviction
sounding like a 70's Deep Purple, Contradiction possesses a riff
taken off Bad Boy Boogie (AC/DC) while the rest has taints of Krokus
(who Lodin was poised to join following the departure of Marc Storace)
and Pat Travers.

As I said, for the progressive rock fan, this album
has little or nothing to offer. If on the other hand you are nostalgic for some
good plain heavy metal, without any frills, this album will just do for you. I
like it!!